I'll use thee kindly for thy mistress' fake,
That us'd me fo; or elfe, by Jove I vow,
I should have fcratch'd out your unfeeing eyes,*
To make my master out of love with thee. (Exit.

the word ftatue was formerly used to express a portrait. Julia is here addressing herself to a picture; and in the City Madam, the young ladies are supposed to take leave of the statues of their lovers, as they style them, though Sir John, at the beginning of the scene, calls them pictures, and describes them afterwards as nothing but fuperficies, colours, and no substance. M. MASON.

--statue-] Statue here, I think, should be written ftatua, and pronounced as it generally, if not always, was in our author's time, a word of three fyllables. It being the first time this word occurs, I take the opportunity of obferving that alterations have been often improperly made in the text of Shakspeare, by supposing Statue to be intended by him for a diffyllable. Thus in King Richard III. Α& ΠΙ. fc. vii:

"But like dumb ftatues, or breathing stones."

Mr. Rowe has unneceffarily changed breathing to unbreathing, for a supposed defect in the metre, to an actual violation of the

fenfe.

Again, in Julius Cæfar, Act II. fc. ii:

"She dreamt to-night she saw my ftatue."

Here, to fill up the line, Mr. Capell adds the name of Decius, and the last editor, deferting his ufual caution, has improperly changed the regulation of the whole passage. Again, in the fame play, A& III. fc. ii:

" Even at the base of Pompey's statue."

In this line, however, the true mode of pronouncing the word is suggested by the last editor, who quotes a very fufficient authority for his conje&ure. From authors of the times it would not be difficult to fill whole pages with instances to prove that ftatue was at that period a trifyllable. Many authors spell it in that manner. On so clear a point the first proof which occurs is enough. Take the following from Bacon's Advancement of Learning, 4to. 1633: "It is not poffible to have the true pictures or ftatuaes of Cyrus, Alexander, Cæfar, no nor of the kings or great perfonages of much later years," &c. p. 88. Again, "without which the history of the world seemeth to be as the Statua of Polyphemus with his eye out," &c. REED.

your unseeing eyes,] So, in Macbeth:

" Thou hast no speculation in those eyes-." STEEVENS.

1

:

ACT V.

SCENE I.

1

The fame. An Abbey.

Enter EGLAMOUR.

EGL. The fun begins to gild the western sky;
And now it is about the very hour
That Silvia, at Patrick's cell should meet me.3
She will not fail; for lovers break not hours,
Unless it be to come before their time;
So much they spur their expedition.

Enter SILVIA.

See, where she comes: Lady a happy evening.
SIL. Amen, amen! go on, good Eglamour,
Out at the postern by the abbey-wall;
I fear, I am attended by fome spies.

EGL. Fear not: the foreft is not three leagues off:
If we recover that, we are sure enough.* [Exeunt.

SCENE II.

The fame. An Apartment in the Duke's Palace.

Enter THURIO, PROTEUS, and JULIA.

THU. Sir Proteus, what says Silvia to my fuit?
PRO. O, fir, I find her milder than the was;

And yet she takes exceptions at your person.
THU. What, that my leg is too long?
PRO. No; that it is too little.

3 That Silvia, at Patrick's cell, should meet me. The old copy redundantly reads: " -friar Patrick's cell-". But the omifion of this title is juftified by a passage in the next scene, where the Duke fays" At Patrick's cell this even; and there she was not." STEEVENS.

4-fure enough.] Sure is fafe, out of danger. JOHNSON.

THU. I'll wear a boot, to make it somewhatrounder. PRO. But love will not be spurr'd to what it loaths

THU. What says she to my face?

PRO. She says, it is a fair one.

THU. Nay, then the wanton lies; my face is black.
PRO. But pearls are fair; and the old saying is,

Black men are pearls in beauteous ladies' eyes.'
JUL. 'Tis true, such pearls as put out ladies' eyes;
For I had rather wink than look on them. [Afide.
THU. How likes the my difcourse?
PRO. Ill, when you talk of war.

THU: But well, when I discourse of love, and peace.
JUL. But better, indeed, when you hold your peace.

THU. What says she to my valour?

PRO. O, fir, she makes no doubt of that,

[Afide.

JUL. She needs not, when she knows it cowardice.

JUL. True; from a gentleman to a fool. [Afide.

THU. Confiders she my possessions?

1632:

Black men are pearls &c.] So, in Heywood's Iron Age,

Again, in Sir Giles Goofecap:

" but to make every black slovenly cloud a pearl in her eye."

STEEVENS.

" A black man is a jewel in a fair woman's eye," is one of Ray's proverbial sentences. MALONE.

6 Jul. 'Tis true, &c.] This speech, which certainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe restored it to its proper owner. STEEVENS.

T3

PRO. O, ay; and pities them.

THU. Wherefore?

JUL. That fuch an ass should owe them, [Afide. PRO. That they are out by leafe."

JUL. Here comes the duke.

Enter DUKE..

DUKE. How now, fir Proteus? how now, Thurio?

Which of you faw fir Eglamour of late?

DUKE. Why, then she's fled unto that peasant

Valentine;

And Eglamour is in her company.
'Tis true; for friar Laurence met them both,
As he in penance wander'd through the foreft:
Him he knew well, and guess'd that it was she;
But, being mask'd, he was not fure of it:
Befides, she did intend confeffion--

At Patrick's cell this even; and there she was not:

7 That they are out by lease.] I suppose he means, because Thurio's folly has let them on disadvantageous terms. STEEVENS.

She pities Sir Thurio's poffeffions, because they are let to others, and are not in his own dear hands. This appears to me to be the meaning of it. M. MASON.

"By Thurio's poffeffions, he himself understands his lands and estate. But Proteus chooses to take the word likewife in a figurative sense, as fignifying his mental endowments: and when he says they are out by leafe, he means they are no longer enjoyed by their master (who is a fool,) but are leafed out to another." Edinburgh Magazine, Nov. 1786. STEEVENS.

8

Sir Eglamour] Sir, which is not in the old copy, was inferted by the editor of the second folio. MALONE.

These likelihoods confirm her flight from hence. Therefore, I pray you, stand not to discourse, But mount you presently; and meet with me Upon the rifing of the mountain-foot

That leads toward Mantua, whither they are fled; Dispatch, sweet gentlemen, and follow me. [Exit.

THU. Why, this it is to be a peevish girl," That flies her fortune when it follows her: I'll after; more to be reveng'd on Eglamour, Than for the love of reckless Silvia.

[Exit.

PRO. And I will follow, more for Silvia' love, Than hate of Eglamour that goes with her. [Exit. JUL. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exit.

Frontiers of Mantua. The Forest.

Enter SILVIA, and Out-laws.

Out. Come, come;

Be patient, we must bring you to our captain.
SIL. A thousand more mischances than this one

Have learn'd me how to brook this patiently.
2 OUT. Come, bring her away.

1 OUT. Where is the gentleman that was with her? 3 OUT. Being nimble-footed, he hath out-run us, But Moyfes, and Valerius, follow him.

Go thou with her to the west end of the wood,

9 a peevish girl, Peevish, in ancient language, fignifies foolish. So, in King Henry VI. P. I:

To fend fuch peevish tokens to a king." STEEVENS. 2--reckless Silvia.] i. e. careless, heedless. So, in Hamlet: like a puff'd and reckless libertine." STEEVENS.